Czech Cubism / Art Deco Panel-cut crystal vase c. 1912-25
More Information
Czech Cubism / Art Deco Panel-cut crystal vase c. 1912-25
CZECH CUBISM / ART DECO
Panel-cut vase c. 1912-25
Clear cut lead crystal with amber overlay in conical form with a band of chevron cut designs around the upper third; the conical form above a flaring, paneled foot
For more information see: Czech Cubism: Architecture, Furniture, and Decorative Arts, ed. Alexander von Vegesack, (New York: Princeton Architectural Press, 1991); Art Deco: Bohemia 1918-1938 (Milan: Electa, 1996); Czech Art Deco 1918-1938 (Prague: The Municipal House, 1998) pp. 74-75.
Peter Canty received his BA in art from the Chouniard Art Institute, Los Angeles (now California Institute of the Arts) and an MA from the University of California, Santa Cruz in 1969. Heavily influenced by the Post-Impressionist masters Van Gogh, Gauguin and Cezanne, in his own he words he describes his interest in landscapes, believing they are, “the best vehicle for motion, force, and color dynamics.” Although his work reference realistic subjects, Canty’s imagery is drawn strictly from his own imagination.
Tim Liddy Who Can Beat Nixon (1970) Presidential Sweepstakes 2006 Oil and enamel on copper, plywood back
TIM LIDDY
“Who Can Beat Nixon” (1970) Presidential Sweepstakes 2006
Oil and enamel on copper, plywood back
Signed in script: Tim Liddy “circa 1970” 2006, red circular ring
Provenance: William Shearburn Gallery (St. Louis, MO)
H: 11 ¾” x W: 9” x D: 2”
With his recent paintings, Liddy has both reasserted the construct of hyperrealist painting and developed a thoroughly unique advancement of that mode by extending the cultural reality of the indexed original. Based on the illustrated box lids of vintage board games, Liddy has recontextualized a subject, which evokes the underlying rules of life. Painted on copper or steel in the precise dimensions of the original, the metal is then manipulated to demonstrate the exact rips and tears from years of usage and includes trompe-l’oeil renditions of the scotch tape that might be holding the cardboard box together, the assorted stains, or the various graffiti of time. Liddy leaves no possibility of ambivalence, these works speak to a concurrent understanding of their original object identity and to themselves as works of art engaged in historical and psychological dialogue.
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